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Saturday, 28 February 2015

Naiad & Idyll

Evening!

Hello to everyone who's stumbled across this blog recently after the recent double re-publication of my '10 Things You Might Not Know about Nude Models' piece, over on DIY Photography and on Model Mayhem. I've been quite amazed by the level of positive response it's had from both photographers and models, and have had lots of messages since asking for interviews and translation rights all over the intersphere... I'll be honest, I'm a bit behind on messages as I've just been overwhelmed, but will get to them all as soon as I can!

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Slightly relatedly, I am planning some gentle world domination for the second half of this year, and, prompted by a suggestion made in one of the comments below this recent facebook update...

... I have started dropping pins in a google map, based on where I need to go in order to position myself in front of the lenses of those various members of my photographer/artist bucket list. I think some hefty inter-continental travel is in order, judging by the scattered placement. It's good to get a clear visual of a possible itinerary. I have started to become increasingly independent from the 'usual suspect' portfolio sites over the last few months, as much as I value them, and I like the idea of maintaining a massive, global picturesque vision of possibility against the backdrop of a world map.

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I have some news: I'm creating a brand new website/blog for my writing (poetry and fiction), which I generally do under a different name (stray modelling articles such as the recent '10 Things' one aside!). It's nerve-wracking and very exciting, and I'll be revealing it to you here very soon - just as soon as it's ready for public consumption. I really hope you'll all like it and your support would mean a lot to me.

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And, finally for this belated blogtastic update, I have some brand new images to show you from the watery waves of a Cornish shoot. These images were shot by the truly lovely, and rather excellent, Imagesse, who is always a pleasure to model for as I know his mind is always racing with narratives as much as mine; a fact proven, unexpectedly, by the arrival in my inbox of a little story as well as the accompanying images.

"...so there I was, meandering along a forest trail beside a lazy river, my path lit by shafts of autumn sunlight breaking through the canopy. Gradually, the moving water developed a sense of urgency and soon my stroll was accompanied by the sound of tumbling rapids. Rounding a bend into a deep gorge, I stopped to bask in the peace and wonder of this place. Several minutes past when I thought I heard a voice above the sound of the falls. There it was again, a soft female voice, singing a clear song. Now puzzled, I turned towards the source of the sound. As I raised myself above my rocky seat, I was presented with a vision, the like of which I had never seen. There before me, on a mossy perch beside the white water, sat a beautiful woman. Clothed in nothing but her own skin, she seemed unaware of my presence yet at one with the river. Spellbound, I watched her hands play with the swirls and eddies of the dark, peaty liquid. Unable to move, unable to breathe, I realised this vision was a naiad; a rare and benign female nymph who belonged to this fresh water idyll. For those dreamlike moments,time stood still, until my reverie was disturbed by the crack of a branch snapping nearby. That distraction made me turn my head for but a few seconds, but when I turned back, that beautiful creature was gone. All that remained was the trees, the rocks and the river. The endlessly moving, river......"

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A print book is now available for purchase, thanks to the kindness and generosity of the artists involved! If you agree that physical prints are far better to look at than online, virtual ones, do read all about it. Each purchase includes a donation to Amnesty. Treat yourself! Thank you.

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Visitors since 13th July 2010

Bouguereau, 'Evening Mood'

Velasquez - The Rokeby Venus

J. W. Waterhouse, 'The Lady of Shalott'

Rossetti, 'Venus Verticordia'

John Grimshaw, 'Iris'

J. W. Waterhouse, 'My Sweet Rose'

Guerin, 'L'aurore et Cephale'

Botticelli, 'The Birth of Venus'

J. W. Waterhouse, 'Psyche Opening the Golden Box'

Pamela Hanson, 'Bis'

Walter De La Mare, 'The Listeners'

‘Is there anybody there?’ said the Traveller,

Knocking on the moonlit door;

And his horse in the silence champed the grasses

Of the forest’s ferny floor:

And a bird flew up out of the turret,

Above the Traveller’s head:

And he smote upon the door again a second time;

‘Is there anybody there?’ he said.

But no one descended to the Traveller;

No head from the leaf-fringed sill

Leaned over and looked into his grey eyes,

Where he stood perplexed and still.

But only a host of phantom listeners

That dwelt in the lone house then

Stood listening in the quiet of the moonlight

To that voice from the world of men:

Stood thronging the faint moonbeams on the dark stair,

That goes down to the empty hall,

Hearkening in an air stirred and shaken

By the lonely Traveller’s call.

And he felt in his heart their strangeness,

Their stillness answering his cry,

While his horse moved, cropping the dark turf,

’Neath the starred and leafy sky;

For he suddenly smote on the door, even

Louder, and lifted his head:—

‘Tell them I came, and no one answered,

That I kept my word,’ he said.

Never the least stir made the listeners,

Though every word he spake

Fell echoing through the shadowiness of the still house

From the one man left awake:

Ay, they heard his foot upon the stirrup,

And the sound of iron on stone,

And how the silence surged softly backward,

When the plunging hoofs were gone.

Natasha Khan/Bat for Lashes, 'Horse and I'

Got woken in the night,by a mystic golden light.My head soaked in river water.I had been dressed in a coat of armor. They calleda horse out of the woodland."Take her there, through the desert shores."They sang to me, "This is yours to wear.You're the chosen one, there's no turning back now."

The smell of redwood giants.The banquet for the shadows.Horse and I, we're dancers in the dark.Came upon the headdress.It was gilded, dark and golden.The children sang.I was so afraid I took it to my head and prayed.They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."

Mark Doty, 'A Display of Mackerel'

They lie in parallel rows,

on ice, head to tail,

each a foot of luminosity

barred with black bands,

which divide the scales’

radiant sections

like seams of lead

in a Tiffany window.

Iridescent, watery

prismatics: think abalone,

the wildly rainbowed

mirror of a soapbubble sphere,

think sun on gasoline.

Splendor, and splendor,

and not a one in any way

distinguished from the other

—nothing about them

of individuality. Instead

they’re all exact expressions

of the one soul,

each a perfect fulfilment

of heaven’s template,

mackerel essence. As if,

after a lifetime arriving

at this enameling, the jeweler’s

made uncountable examples,

each as intricate

in its oily fabulation

as the one before

Suppose we could iridesce,

like these, and lose ourselves

entirely in the universe

of shimmer—would you want

to be yourself only,

unduplicatable, doomed

to be lost? They’d prefer,

plainly, to be flashing participants,

multitudinous. Even now

they seem to be bolting

forward, heedless of stasis.

They don’t care they’re dead

and nearly frozen,

just as, presumably,

they didn’t care that they were living:

all, all for all,

the rainbowed school

and its acres of brilliant classrooms,

in which no verb is singular,

or every one is. How happy they seem,

even on ice, to be together, selfless,

which is the price of gleaming.

Kate Clanchy, 'Poem for a Man with No Sense of Smell'

This is simply to inform you:

that the thickest line in the kink of my handsmells like the feel of an old school desk,the deep carved names worn sleek with sweat;

that beneath the spray of my expensive scentmy armpits sound a bass note strongas the boom of a palm on a kettle drum;

that the wet flush of my fear is sharpas the taste of an iron pipe, midwinter,on a child's hot tongue; and that sometimes,

in a breeze, the delicate hairs on the napeof my neck, just where you might bendyour head, might hesitate and brush your lips,

hold a scent frail and precise as a fleetof tiny origami ships, just setting out to sea.